In the design world, Milan Design Week is a big one. The annual extravaganza is celebrated by design enthusiasts worldwide across the bustling streets of Milan, where creativity meets commerce. Last month I found myself in the middle of a curious blend of genuine innovation and shallow spectacle.
One of the most glaring trends was the pervasive use of fashion brand names to lend an air of legitimacy to the event. It seemed as though every corner boasted the presence of renowned product designer associated with high-profile fashion label, however, upon closer inspection, there seemed little intent to showcase a genuine dedication to the world of product design, and more about feeding the increasingly growing PR stunt machine.
This year’s victims were the design icons Le Corbusier (with Bottega Veneta) and Gio Ponti (with Saint Laurent), where the designs lacked depth and failed to resonate beyond their surface glamour. It felt like a commodification of design, where brand names overshadowed true creativity and innovation.
Furthermore, the proliferation of installations designed solely for Instagram-worthy moments was hard to ignore. Everywhere I turned, there were displays carefully curated to appeal to the lens of a smartphone camera rather than to engage with the essence of design. These installations were visually captivating, no doubt, but they lacked substance. They were hollow, devoid of any meaningful message or artistic merit beyond their superficial aesthetics. It was disheartening to witness the prioritisation of fleeting moments of social media validation over genuine artistic expression.
Such is the pull of Milan Design Week, the streets of the city were packed as ever with people eager to experience its spectacle. Yet, amid the crowds (and endless queues) I couldn’t shake the feeling of emptiness that pervaded many of the exhibitions. People queued for hours just to catch a glimpse of something that promised to be visually appealing, only to find themselves confronted with installations that offered little beyond their initial allure. It was a stark reminder of the superficial nature of our modern obsession with image and spectacle.
There were, however, pockets of genuine brilliance that shone through. Design Space AlUla, for instance, stood out as a beacon of authenticity amid the chaos. Drawing nearly 20,000 visitors, they were treated to a curated collection of design creations and prototypes, alongside immersive installations dedicated to raw materials. It was a celebration of craftsmanship and creativity, offering a refreshing departure from the glitz and glamour that often defines Milan Design Week.
Similarly, Hermès delivered a masterful showcase that placed materials at the heart of the exhibition and discourse. Its presentation was a testament to the timeless beauty of craftsmanship and the enduring power of materiality in design, reminding us of the importance of substance over style.
My tastes aside, Milan Design Week has become a microcosm of the contemporary design landscape, where superficiality often masquerades as innovation and spectacle reigns supreme. While there is no denying the visual splendour of the event, it is imperative that we look beyond the surface and seek out moments of genuine creativity and authenticity. It is in these moments that the true essence of design resides, here’s hoping we can continue to strive to prioritise substance over style and authenticity over spectacle.
